Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour

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Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour. / Østermark-Johansen, Lene.

I: Word & Image, Bind 36, Nr. 1, 10.04.2020, s. 27–36.

Publikation: Bidrag til tidsskriftTidsskriftartikelfagfællebedømt

Harvard

Østermark-Johansen, L 2020, 'Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour', Word & Image, bind 36, nr. 1, s. 27–36. https://doi.org/10.1080/02666286.2019.1651993

APA

Østermark-Johansen, L. (2020). Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour. Word & Image, 36(1), 27–36. https://doi.org/10.1080/02666286.2019.1651993

Vancouver

Østermark-Johansen L. Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour. Word & Image. 2020 apr. 10;36(1):27–36. https://doi.org/10.1080/02666286.2019.1651993

Author

Østermark-Johansen, Lene. / Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour. I: Word & Image. 2020 ; Bind 36, Nr. 1. s. 27–36.

Bibtex

@article{4606ccab5fc04099937682f3e216cced,
title = "Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour",
abstract = "Walter Pater{\textquoteright}s unfinished historical novel Gaston de Latour (1888-94), set during the French wars of religion in the late sixteenth century, operates on a complex monochromatic colour symbolism which ties the colours of sixteenth-century French art together with a late nineteenth-century synaesthesia. The essay explores the ways in which Pater engaged with J. A. M. Whistler, John Ruskin, Emilia Pattison, Alexandre Dumas, and Charles Baudelaire in his evocation of the aesthetics of Renaissance France. While also being profoundly involved with the historiography, biography, prose and poetry of sixteenth-century France, Pater let the colours of the past rise to the surface of his text, transforming them to his own purpose. His highly idiosyncratic use of the colour schemes and materials of Renaissance art alert us to the clashes between north and south, the Flemish and the Italianate influences on French Renaissance art, to the complexities of portraiture, line versus colour, a golden palette contrasted with a blue one. Pater{\textquoteright}s carefully controlled colour symbolism, often moving within a Whistlerian monochromatic scale, gives us highly aestheticized depictions of ugliness, in inter-human relationships both on a national and on a personal level, thus exposing the subversive powers of beauty. As we dig underneath the beautiful surface, horror and ugliness abound, inviting us to think more broadly about decadence as a recurrent phenomenon.",
keywords = "Faculty of Humanities, Walter Pater, John Ruskin, J. A. M. Whistler, Renaissance France, Aestheticism, Decadence, Leonardo da Vinci, Gaston de Latour, Marguerite de Valois, Colour harmony",
author = "Lene {\O}stermark-Johansen",
year = "2020",
month = apr,
day = "10",
doi = "10.1080/02666286.2019.1651993",
language = "English",
volume = "36",
pages = "27–36",
journal = "Word and Image",
issn = "0266-6286",
publisher = "Taylor & Francis Online",
number = "1",

}

RIS

TY - JOUR

T1 - Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour

AU - Østermark-Johansen, Lene

PY - 2020/4/10

Y1 - 2020/4/10

N2 - Walter Pater’s unfinished historical novel Gaston de Latour (1888-94), set during the French wars of religion in the late sixteenth century, operates on a complex monochromatic colour symbolism which ties the colours of sixteenth-century French art together with a late nineteenth-century synaesthesia. The essay explores the ways in which Pater engaged with J. A. M. Whistler, John Ruskin, Emilia Pattison, Alexandre Dumas, and Charles Baudelaire in his evocation of the aesthetics of Renaissance France. While also being profoundly involved with the historiography, biography, prose and poetry of sixteenth-century France, Pater let the colours of the past rise to the surface of his text, transforming them to his own purpose. His highly idiosyncratic use of the colour schemes and materials of Renaissance art alert us to the clashes between north and south, the Flemish and the Italianate influences on French Renaissance art, to the complexities of portraiture, line versus colour, a golden palette contrasted with a blue one. Pater’s carefully controlled colour symbolism, often moving within a Whistlerian monochromatic scale, gives us highly aestheticized depictions of ugliness, in inter-human relationships both on a national and on a personal level, thus exposing the subversive powers of beauty. As we dig underneath the beautiful surface, horror and ugliness abound, inviting us to think more broadly about decadence as a recurrent phenomenon.

AB - Walter Pater’s unfinished historical novel Gaston de Latour (1888-94), set during the French wars of religion in the late sixteenth century, operates on a complex monochromatic colour symbolism which ties the colours of sixteenth-century French art together with a late nineteenth-century synaesthesia. The essay explores the ways in which Pater engaged with J. A. M. Whistler, John Ruskin, Emilia Pattison, Alexandre Dumas, and Charles Baudelaire in his evocation of the aesthetics of Renaissance France. While also being profoundly involved with the historiography, biography, prose and poetry of sixteenth-century France, Pater let the colours of the past rise to the surface of his text, transforming them to his own purpose. His highly idiosyncratic use of the colour schemes and materials of Renaissance art alert us to the clashes between north and south, the Flemish and the Italianate influences on French Renaissance art, to the complexities of portraiture, line versus colour, a golden palette contrasted with a blue one. Pater’s carefully controlled colour symbolism, often moving within a Whistlerian monochromatic scale, gives us highly aestheticized depictions of ugliness, in inter-human relationships both on a national and on a personal level, thus exposing the subversive powers of beauty. As we dig underneath the beautiful surface, horror and ugliness abound, inviting us to think more broadly about decadence as a recurrent phenomenon.

KW - Faculty of Humanities

KW - Walter Pater

KW - John Ruskin

KW - J. A. M. Whistler

KW - Renaissance France

KW - Aestheticism

KW - Decadence

KW - Leonardo da Vinci

KW - Gaston de Latour

KW - Marguerite de Valois

KW - Colour harmony

U2 - 10.1080/02666286.2019.1651993

DO - 10.1080/02666286.2019.1651993

M3 - Journal article

VL - 36

SP - 27

EP - 36

JO - Word and Image

JF - Word and Image

SN - 0266-6286

IS - 1

ER -

ID: 255359131